Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



Plumbago_9780993198359_1.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Desert Island Delights at the RCM: Offenbach's Robinson Crusoe

Britannia waives the rules: The EU Brexit in quotes’. Such was the headline of a BBC News feature on 28th June 2016. And, nearly three years later, those who watch the runaway Brexit-train hurtle ever nearer to the edge of Dover’s white cliffs might be tempted by the thought of leaving this sceptred (sceptic?) isle, for a life overseas.

Akira Nishimura’s Asters: A Major New Japanese Opera

Opened as recently as 1997, the Opera House of the New National Theatre Tokyo (NNTT) is one of the newest such venues among the world’s great capitals, but, with ten productions of opera a year, ranging from baroque to contemporary, this publicly-owned and run theatre seems determined to make an international impact.

The Outcast in Hamburg

It is a “a musicstallation-theater with video” that had its world premiere at the Mannheim Opera in 2012, revived just now in a new version by Vienna’s ORF Radio-Symphonieorchester Wein for one performance at the Vienna Konzerthaus and one performance in Hamburg’s magnificent Elbphilharmonie (above). Olga Neuwirth’s The Outcast and this rich city are imperfect bedfellows!

Leonard Bernstein: Tristan und Isolde in Munich on Blu-ray

Although Birgit Nilsson, one of the great Isolde’s, wrote with evident fondness – and some wit – of Leonard Bernstein in her autobiography – “unfortunately, he burned the candles at both ends” – their paths rarely crossed musically. There’s a live Fidelio from March 1970, done in Italy, but almost nothing else is preserved on disc.

Monarchs corrupted and tormented: ETO’s Idomeneo and Macbeth at the Hackney Empire

Promises made to placate a foe in the face of imminent crisis are not always the most well-considered and have a way of coming back to bite one - as our current Prime Minister is finding to her cost.

Der Fliegende Holländer and
Tannhäuser in Dresden

To remind you that Wagner’s Dutchman had its premiere in Dresden’s Altes Hoftheater in 1843 and his Tannhauser premiered in this same theater in 1845 (not to forget that Rienzi premiered in this Saxon court theater in 1842).

WNO's The Magic Flute at the Birmingham Hippodrome

A perfect blue sky dotted with perfect white clouds. Identikit men in bowler hats clutching orange umbrellas. Floating cyclists. Ferocious crustaceans.

Puccini’s Messa di Gloria: Antonio Pappano and the London Symphony Orchestra

This was an oddly fascinating concert - though, I’m afraid, for quite the wrong reasons (though this depends on your point of view). As a vehicle for the sound, and playing, of the London Symphony Orchestra it was a notable triumph - they were not so much luxurious - rather a hedonistic and decadent delight; but as a study into three composers, who wrote so convincingly for opera, and taken somewhat out of their comfort zone, it was not a resounding success.

WNO's Un ballo in maschera at Birmingham's Hippodrome

David Pountney and his design team - Raimund Bauer (sets), Marie-Jeanne Lecca (costumes), Fabrice Kebour (lighting) - have clearly ‘had a ball’ in mounting this Un ballo in maschera, the second part of WNO’s Verdi trilogy and which forms part of a spring season focusing on what Pountney describes as the “profound and mysterious issue of Monarchy”.

Super #Superflute in North Hollywood

Pacific Opera Project’s rollicking new take on The Magic Flute is as much endearing fun as a box full of puppies.

Leading Ladies: Barbara Strozzi and Amiche

I couldn’t help wondering; would a chamber concert of vocal music by female composers of the 17th century be able sustain our concentration for 90 minutes? Wouldn’t most of us be feeling more dutiful than exhilarated by the end?

George Benjamin’s Into the Little Hill at Wigmore Hall

This week, the Wigmore Hall presents two concerts from George Benjamin and Frankfurt’s Ensemble Modern, the first ‘at home’ on Wigmore Street, the second moving north to Camden’s Roundhouse. For the first, we heard Benjamin’s now classic first opera, Into the Little Hill, prefaced by three ensemble works by Cathy Milliken, Christian Mason, and, for the evening’s spot of ‘early music’, Luigi Dallapiccola.

Marianne Crebassa sings Berio and Ravel: Philharmonia Orchestra with Salonen

It was once said of Cathy Berberian, the muse for whom Luciano Berio wrote his Folk Songs, that her voice had such range she could sing the roles of both Tristan and Isolde. Much less flatteringly, was my music teacher’s description of her sound as akin to a “chisel being scraped over sandpaper”.

Rossini's Elizabeth I: English Touring Opera start their 2019 spring tour

What was it with Italian bel canto and the Elizabethan age? The era’s beautiful, doomed queens and swash-buckling courtiers seem to have held a strange fascination for nineteenth-century Italians.

Chameleonic new opera featuring Caruso in Amsterdam

Micha Hamel’s new opera, Caruso a Cuba, is constantly on the move. The chameleonic score takes on a myriad flavours, all with a strong sense of mood or place.

Ernst Krenek: Karl V, Bayerisches Staatsoper

Ernst Krenek’s Karl V op 73 at the Bayerisches Staatsoper, with Bo Skovhus, conducted by Erik Nielsen, in a performance that reveals the genius of Krenek’s masterpiece. Contemporary with Schreker’s Die Gezeichneten, Schoenberg’s Moses und Aron, Berg’s Lulu, and Hindemith’s Mathis der Maler, Krenek’s Karl V is a metaphysical drama, exploring psychological territory with the possibilities opened by new musical form.

A Sparkling Merry Widow at ENO

A small, formerly great, kingdom, is on the verge of bankruptcy and desperate to prevent its ‘assets’ from slipping into foreign hands. Sexual and political intrigues are bluntly exposed. The princes and patriarchs are under threat from both the ‘paupers’ and the ‘princesses’, and the two dangers merge in the glamorous figure of the irresistibly wealthy Pontevedrin beauty, Hanna Glawari, a working-class girl who’s married up and made good.

Mozart: Così fan tutte - Royal Opera House

Così fan tutte is, primarily, an ensemble opera and it sinks or swims on the strength of its sextet of singers - and this performance very much swam. In a sense, this is just as well because Jan Phillip Gloger’s staging (revived here by Julia Burbach) is in turns messy, chaotic and often confusing. The tragedy of this Così is that it’s high art clashing with Broadway; a theatre within an opera and a deceit wrapped in a conundrum.

Gavin Higgins' The Monstrous Child: an ROH world premiere

The Royal Opera House’s choice of work for the first new production in the splendidly redesigned Linbury Theatre - not unreasonably, it seems to have lost ‘Studio’ from its name - is, perhaps, a declaration of intent; it may certainly be received as such. Not only is it a new work; it is billed specifically as ‘our first opera for teenage audiences’.

Elektra at Lyric Opera of Chicago

From the first moments of the recent revival of Sir David McVicar’s production of Elektra by Richard Strauss at Lyric Opera of Chicago the audience is caught in the grip of a rich music-drama, the intensity of which is not resolved, appropriately, until the final, symmetrical chords.

OPERA TODAY ARCHIVES »

Reviews

23 Jul 2012

Hector Berlioz, Les Troyens (concert performance, BBC Proms)

Hearing The Trojans in concert at the Royal Albert Hall as part of the Proms was, for me at least, a much happier experience than when it laboured under the crowd-pleasing would-be-musical-comedy served up by David McVicar’s production for the Royal Opera.

Hector Berlioz : Les Troyens

Cassandre: Anna Caterina Antonacci; Chorèbe - Fabio Capitanucci; Enée: Bryan Hymel; Didon: Eva-Maria Westbroek; Narbal: Brindley Sherratt; Anna: Hanna Hipp; Ascagne: Barbara Senator; Priam: Robert Lloyd; Hécube: Pamela Helen Stephen; Ghost of Hector: Jihoon Kim; Panthée: Ashley Holland; Hélénus: Ji Hyun Kim; Greek Captain: Lukas Jakobski; Trojan Soldier/Mercure: Daniel Grice; Iopas: Ji-Min Park; First Soldier: Adrian Clarke; Second Soldier: Jeremy White; Hylas: Ed Lyon. Orchestra of the Royal Opera House; Royal Opera Chorus (chorus master: Renato Balsadonna)/Sir Antonio Pappano (conductor).

22nd July 2012, Royal Albert Hall, London.

 

Speaking to a few members of the audience who had also attended both, I was clearly not the only person to have found conductor and soloists liberated by the concert hall. Sir Antonio Pappano’s conducting still has its problems, but he makes Berlioz sound less like Verdi than he does Wagner, and, as at Covent Garden, his reading gathered strength as it went on. Even the first act, where sometimes he appeared to think that he was conducting Aida, had stronger, more idiomatic moments. The very opening was far too fast, breathless rather than jubilant, the Trojans opening ‘Ha! Ha!’ sounding as if they were hyper-ventilating. However, the transformation of mood signalling the arrival of Cassandre was very well handled, doubtless informed by plenty of theatrical experience yet without the encumbrance of inadequate scenic presentation. The disquieting weirdness of the orchestra throughout her recitative and aria painted a thousand words. Likewise, the terrible, ominous tread of the march and choral hymn, ‘Dieux protecteurs de la ville éternelle’ - the irony of the words properly telling - was compellingly presented, far more in touch with the inheritance of Gluck’s obsequies than had previously been the case. It was a pity, then, that the ensuing Wrestlers’ Dance reverted to Verdian type. Cassandre’s aria, ‘Non, je ne verrai pas la deplorable fête’ was conducted as if Pappano had a bus to catch, but thereafter things settled down, off-stage - or rather arena - brass sounding utterly resplendent in the act finale. One might have had quibbles here and there, but save for an unfortunate lapse of tension towards the end of the fourth act - it really must be maintained here, lest the Berlioz nay-sayers have their day in court over alleged ‘longueurs’ - there was much to enjoy, not least a vividly pictorial Royal Hunt and Storm, suffused also with erotic longing.

Of course, those of us who have heard Sir Colin Davis conduct the opera will never forget the experience: a performance far more alert to Berlioz’s formal imperatives, in which never, not once, did the dramatic, Gluckian tensian sag, but sadly, it is not logistically possible for every performance one hears to emanate from the hands of the world’s greatest Berlioz interpreter. The best stomachs, to misquote Voltaire, are not necessarily those that reject all food. Pappano more often than not did a good job, considerably better than at the staged performance I saw. And the Orchestra of the Royal Opera House played magnificently throughout, even on the occasions when its direction proved a little misguided.

The major problem with a number of the sung performances remained the level not only of French pronunciation, but French style. The latter is not monolithic of course, and it is no bad thing to have preconceptions challenged, but singing Berlioz as if he were Verdi simply does not pass muster, especially if pronunciation is all over the place. (Incidentally, the lack of comment by many writers on this crucial aspect should really be a matter for concern. If English-language critics simply cannot hear when the French language is being distorted, even butchered, they should probably leave Berlioz well alone.) There was a broad spectrum, of course: two singers who again covered themselves in glory were Ed Lyon as Hylas, his song deceptively simple and touching, and Anna Caterina Antonacci as Cassandre. If there were times when the orchestra threatened to overwhelm the latter’s voice, it never did, and that struggle is surely expressive of the drama. Relieved of McVicarisms, Antonacci channelled all of her musico-dramatic energies into a searing portrayal of the doomed prophetess. Even as a little boy reading the ancient legends, Cassandra was for me a figure of empathy; here, her predicament and nobility of spirit were searingly portrayed in a performance that would have nothing whatsoever to fear from comparison with Davis’s Petra Lang. Ironically, Eva-Maria Westbroek’s Didon, if hardly an epitome of French style, came alive far more dramatically than on stage. There was now a proper sense of a woman scorned, of righteous fury. Bryan Hymel’s Enée, however, continues to lack not only correct, or even feasible, pronunciation, but also refulgence of tone. If only, Jonas Kaufmann had been fit to sing. At times, alas, Hymel sounded like a parody of Jon Vickers Perhaps others can more readily overlook the odd mispronunciations, also a characteristic of Fabio Capitanucci’s Chorèbe, but they surely ought at least to have difficulties with the strangulated tone and the crude, Verdi-like delivery. Vignettes were often well taken. Ji-Min Park’s Iopas was sung beautifully, if one could ignore the lack of ease with the language. And small though the part may be, Pamela Helen Stephen’s Hécube somehow managed blood-curdlingly to capture the attention, as she and others recoiled at the death of Laocoön.

Aside from the second act finale, when the women experienced slight intonational problems, the choral singing was excellent too. Not quite a match, perhaps for Davis’s London Symphony Chorus - is there a chorus anywhere that has sung more Berlioz? - but impressive nevertheless. As an introduction to Berlioz’s extraordinary opera, this could hardly have failed to impress. Even for those of us who have known Les Troyens for a while, it remained an inspiring, if in some respects flawed, experience. Both the Proms and the Royal Opera should be congratulated for their efforts in bringing the work to a wider audience.

Mark Berry

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):